Acting in the ESL/EFL Classroom: Why It Is Effective by Gary Carkin, Ph.D. 10/18/09

Introduction Effectively Using Drama and Role Playing in the Teaching of ESL/EFL General Benefits: Reduces shyness Encourages self-confidence Improves diction Improves voice and “presence” Gets students to “think on their feet” using role play and improvisation Encourages rapid negotiation of meaning 10/18/09

Effectively Using Drama and Role Playing in the Teaching of ESL/EFL

General Benefits:

Reduces shyness

Encourages self-confidence

Improves diction

Improves voice and “presence”

Gets students to “think on their feet” using role play and improvisation

Encourages rapid negotiation of meaning

Holographic imaging supports theories of SLA and acting Holographic studies of brain activity during language learning by Dr. Karl Pribram The inter-active psycho linguistic theory of Lev Semenovitch Vygotsky The Stanislavski approach to acting 10/18/09

Holographic studies of brain activity during language learning by Dr. Karl Pribram

The inter-active psycho linguistic theory of Lev Semenovitch Vygotsky

The Stanislavski approach to acting

Language Acquisition = Whole Brain Dr. Karl Pribram: Language acquisition is a whole brain activity The left hemisphere: symbolic communication (words) The right hemisphere: signs and signing (images) Activated through vocal expression and movement Based upon MOMENTARY feeling/emotion depending upon context 10/18/09

Dr. Karl Pribram:

Language acquisition is a whole brain activity

The left hemisphere: symbolic communication (words)

The right hemisphere: signs and signing (images)

Activated through vocal expression and movement

Based upon MOMENTARY feeling/emotion depending upon context

Pragmatics of Situation The pragmatics of situation form the basis for communication The repetition of these “procedural pragmatics” = “transformations” of generative grammar (Chomsky) as indicated by Wilkinson (2000) Pribram (1993) Drama provides context of situation for use of grammar 10/18/09

The pragmatics of situation form the basis for communication

The repetition of these “procedural pragmatics” = “transformations” of generative grammar (Chomsky) as indicated by Wilkinson (2000) Pribram (1993)

Drama provides context of situation for use of grammar

Movement Supports Language Acquisition “ The upper midbrain is made up of motor structures involved in producing the muscular settings necessary to action…Communicative and linguistic acts also depend on these motor structures”. Karl Pribram Movement is a necessary part of language learning. 10/18/09

“ The upper midbrain is made up of motor structures involved in producing the muscular settings necessary to action…Communicative and linguistic acts also depend on these motor structures”. Karl Pribram

Movement is a necessary part of language learning.

Emotion Imprints Language “ Emotional reactions as well as language processes are ‘connected with the activity of the deep cerebral tissues – the subcortical nuclei’”. (Deglin, Wilkinson) Drama helps to generate the emotion that supports imprinting of language 10/18/09

“ Emotional reactions as well as language processes are ‘connected with the activity of the deep cerebral tissues – the subcortical nuclei’”. (Deglin, Wilkinson)

Drama helps to generate the emotion that supports imprinting of language

How Acting Supports Language Acquisition Vygotsky (Psycholinguist) Stanislavski (Acting theorist) LEV SEMENOVITCH VYGOTSKY: Interactive approach to language acquisition Zone of Proximal Development Mind in Society 10/18/09

Vygotsky (Psycholinguist)

Stanislavski (Acting theorist)

LEV SEMENOVITCH VYGOTSKY:

Interactive approach to language acquisition

Zone of Proximal Development

Mind in Society

Thought and Language A person starts with a MOTIVE to speak. That MOTIVE generates INNER SPEECH/SUBTEXT. The INNER SPEECH/SUBTEXT generates a THOUGHT/IMAGE. The THOUGHT/IMAGE generates FEELING. The FEELING propels the speech. 10/18/09

A person starts with a MOTIVE to speak. That MOTIVE generates INNER SPEECH/SUBTEXT. The INNER SPEECH/SUBTEXT generates a THOUGHT/IMAGE. The THOUGHT/IMAGE generates FEELING. The FEELING propels the speech.

Motive/Intention “ A specific desire which the character can satisfy through action.” Charles McGaw, Acting Believing Must be determined for every speech of the character. 10/18/09

“ A specific desire which the character can satisfy through action.” Charles McGaw, Acting Believing

Must be determined for every speech of the character.

INNER SPEECH/SUBTEXT The thought hidden behind the line. Provides the sense associated with a word based on the context. The image created through the thought associates with the word to excite feeling which links to the word. 10/18/09

The thought hidden behind the line.

Provides the sense associated with a word based on the context.

The image created through the thought associates with the word to excite feeling which links to the word.

IMAGE The words of the script combine with the thought of the actor/character to provide a series of images that evoke the feelings of the actor as character. INNER MONOLOGUE connects the actor/character’s INNER SPEECH/SUBTEXT with the thought generated by listening to other characters. 10/18/09

The words of the script combine with the thought of the actor/character to provide a series of images that evoke the feelings of the actor as character.

INNER MONOLOGUE connects the actor/character’s INNER SPEECH/SUBTEXT with the thought generated by listening to other characters.

A FLOW OF IMAGES When an actor acts, he sees a picture. He keeps the images before him as if they were on a television or a motion picture screen”. Charles McGaw When the language learner listens, he sees a picture that connects to the thoughts and motives of his character. He reacts by using speech and movement to further his objectives as in real life. 10/18/09

When an actor acts, he sees a picture. He keeps the images before him as if they were on a television or a motion picture screen”. Charles McGaw

When the language learner listens, he sees a picture that connects to the thoughts and motives of his character. He reacts by using speech and movement to further his objectives as in real life.

Conclusion Drama is effective in language learning because it mimics the real life process of using symbols (words) related to signs (images) processed through action (use of words and movement) in the context of dramatic circumstances that arouse emotions associated with the words and images used in the satisfaction of a motive, need, or desire. 10/18/09

Drama is effective in language learning because it mimics the real life process of using symbols (words) related to signs (images) processed through action (use of words and movement) in the context of dramatic circumstances that arouse emotions associated with the words and images used in the satisfaction of a motive, need, or desire.

Conclusion and Practice Effective drama as well as language acquisition will adhere to the processes outlined above as suggested by Lev Semenovich Vygotsky and Konstantine Stanislavski. Vygotsky shows us how the language acquisition process occurs, and Stanislavski shows us how it occurs when acting. 10/18/09

Effective drama as well as language acquisition will adhere to the processes outlined above as suggested by Lev Semenovich Vygotsky and Konstantine Stanislavski. Vygotsky shows us how the language acquisition process occurs, and Stanislavski shows us how it occurs when acting.

A Funny Thing Happened on the Way to the Dorm 10/18/09